An interview with Joe Binford
Joe Binford, Jr. brings his short film Transitions to the Atlanta Film Festival this year which will screen with the feature film That Evening Sun which features Hal Holbrook, and Oscar winning GA filmmakers Ray McKinnon and Walton Goggins. Joe leads a development company in Atlanta and Los Angeles called ChickenFiltersTM (www.ChickenFilters.com). He's been a familiar face in Atlanta for the past few years. He's given seminars and taught classes about editing and directing for Atlanta Film Festival 365 as well as worked with local filmmakers as well.
 A scene from 'Transitions'
His most recent short film is called Transitions in which an elevator travels through a four-story building for four stories of transition, loss, and redemption.
I was able to ask Joe about his film and other projects.
1. Is this your first film as a director?
No, but ‘Transitions' was the first of this size. Most of the other shorts we shot with a much smaller crew and they were all part of a group of short films I used to give as holiday gifts to crew back in California and Texas.
2. You have an extensive background as an editor what was the main difference you found being a director this time?
You really have to be ‘in the moment' when you're directing. Having the editing background gave me the confidence to experiment a little more.
3. What challenges were the most difficult in getting ‘Transitions' made?
As strange as this sounds, the biggest challenge was convincing our DP Michael Kohnhorst that it really made sense to try and cover five different sets in one camera move similar to Hitchcock's ‘Rope'. Once we got that idea in our heads, it was ‘all hands on deck' to keep the elevator floating through four different floors. It was a bit theatrical and took a little more planning than shooting with coverage.
4. Can you talk about how you handled the effects?
All the effects were created by the movement of the camera. It's something that we spent quite a bit of time rehearsing.
5. They have paired your short film with "That Evening Sun", do you know why the pairing was made, is their a particular connection between your film and that feature?
I think that our film, ‘Transitions' was connected with ‘That Evening Sun' because of our short format and it being shot available for screening on 35mm film. We're excited to be paired next to such a huge screening as ‘T.E.S.' because it'll get seen by a wider audience. I'm also jazzed to meet the filmmaker's of ‘That Evening Sun' and get a chance to visit with Ray McKinnon and Scott Teems.
6. You also served as editor for another short in the festival, "Happy Hour" can you talk about that film and your experience with The Woman's Angle project?
I was very pleased to work with my fellow filmmaker Angela Barnes Gomes on "Happy Hour" who I met while working on Tyler Perry's "House of Payne" a couple of years ago. I'm very proud of our work on "Happy Hour" and I think Angela's on her way. The Woman's Angle was really fun to see take shape this year. My business partner Craig Tollis and I jumped at the chance to have our new company Film Finish help TWA reach its promotion and screening goals by sponsoring for much of this year's behind the scenes planning. Tracy Martin really should get a huge pat on the back for her generous time and talents.
7. Do you have any other projects on the horizon that you can talk about?
Yes. And No. I have a great development team that keeps me focused. We believe we're onto something for this summer and that's all I'm allowed to say. CinemATL will be the first to know when we have something that rhymes with ‘greenlight'. However, on the post production side of things, Film Finish LLC has been training a new set of editors and assistant editors from the production community here in Atlanta. These folks will help our town grow because we're creating a path for both our independent community and for the Hollywood production companies that come here because of our great tax incentives.
8. Do you have any thoughts about the difference in being an indie filmmaker in a city like Atlanta versus being part of the major business in L.A.? What are the pros and cons of either situation?
Atlanta's a great place for an indie filmmaker as well as for making studio pictures. There are great crews here and plenty of great locations. The biggest difference about being away from LA is that the cost of living is better here. Our infrastructure is growing too. I fully expect to see the next "Sex Lies..." type hit come from Georgia. The time's definitely right.
Transitions screens with That Evening Sun on Sunday, April 19th at 5:30PM and again on Tuesday, April 21st at 4:00PM at the Landmark Theater.
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